Virtuoso Music for Guitar Parkening Plays Bach (Book) - Download as PDF File . pdf) or read online. Guitar Music. - Download as PDF File .pdf) or read online. Classical Guitar sheet music. Customers Who Bought Parkening Plays Bach Also Bought: I bought this mainly for Rick Foster's Jesu, which is almost perfect; it also contains Foster's Sheep and Chris's own terrific Sleepers and Clavier Preludes 1 and 6.

Parkening Plays Bach Pdf

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He has a funny story about this in his autobiography "Grace Like a River". When he plays it on "Parkening plays Bach" there is no capo used. The Christopher Parkening Discography. In the Spanish Style CDC Parkening Plays Bach CDC Simple Gifts CDC A Bach. Christopher Parkening Plays МБ. Virtuoso Music for Guitar Christopher Parkening and the Guitar.- Vol pdf. МБ.

Implied harmony. Octavation and counterpoint. Rhythm: Rhythmic pulse and the sarabande pattern. The chaconne second beat. Subsidiary rhythmic patterns and implied polyphony. Odd rhythmic grouping. London: Oxford University Press , The arch form.

Articulations: The manuscript as a source. Role of slurs. Tempo: The Baroque tradition. Performance practice.

Harmony and Counterpoint Changes from the original were made to fit the tessitura and idiom of the guitar while trying to be faithful to the music itself. Although the music was transposed an octave down, the lower and middle registers of the guitar would be virtually untouched by the original music alone.

Thus, important harmonic points were filled considering elemental rules of voice leading.

Sometimes the voice leading does not allow for this type of fill-in notes. The simpler recourse is octavation from the original music.

In measure 38 Ex. This procedure created a situation in which if the place of this note in the 31 upper line is not filled, we encounter register problems. On the other hand, if the c is doubled, we find an unsatisfactory counterpoint situation.

The solution is, then, to fill the place with a note from the harmony, in this case a. Introduced bass line is that which is not present in the original but is nonetheless implied by the harmony.

Its function is melodic and rhythmic. The most used pattern is the sarabande rhythm. The following example, from variation 4 mm. In the original, the type b tetrachord in the lower voice see Ex. However, by anticipating the last eighth note of the measure over the second beat we have the sarabande rhythm. The fill-in notes on the tenor voice create resolutions of the tritone over the downbeat and connect the register 32 between the upper and lower voices.

This tenor voice then connects with f in measure four, a note that is present in the original. Another technique is that of extrapolation. This occurs between variation 6 from measure 49 to measure 51 and variation 8 from measure 65 to measure In variation 6, the tetrachord in the lower voice in the original takes the tenor voice in the transcription, while notes taken from variation 8 fill the bass within squares in the example.

The purpose of this extrapolation is to solve a technical problem inherent to the guitar idiom. Since variations 6 and 8 share the same harmonic progression, it is proper to extrapolate these notes. This is a very important consideration for a transcription and subsequent performance. The inherent polyphonic texture and implied harmony of some of the passages gives enough support for this idea.

One instance is the variation 6 again. If we divide the original line into independent voices, there is an upbeat eight-note which is characteristic of the sarabande rhythm.

It is worth to point out that the sarabande rhythm is not always in the same rhythmic level than the beginning. Different levels are implied in the original music as well as in introduced bass line such is the case in the first arpeggio passage, mm. However, the quarter note in the upbeat provides a similar momentum to the following beat. It is also worth noting that the present pattern inverts the one given by the second beat pattern in the Chaconne.

Although the second beat pattern that begins the Chaconne is not always present, it is a concern where to locate the places in which it is implied. In the first arpeggio passage, it is very easy to overlook the beginning of a new variation due to the static rhythmic pattern.

However, a closer study will show the right places. In analyzing the implied polyphony, we can find subsidiary rhythmic patterns that are carried along the piece. In identifying these patterns, the performer is able to discriminate rhythmic postings that help to maintain the flow of the music.

The most important is a four-note pattern that consists of three upbeat sixteenth notes resolving in the following downbeat. One of the clearest examples is variation 10 m. Patterns like that of variation 10, mm. By doing this, Bach avoids repetition and predictability.

Even more, this same variation is one of the most interesting harmonic passages in the whole piece: the upper voice over the descending tetrachord delineates a series of diminished chords, a brilliant way to present all twelve notes.

Dynamics Baroque composers, who where in general the performers of their own works, relied on performance practice for interpretation of their work. Thus, indications like tempo, dynamics, and ornaments were left to the performer for realization, following the few indications by the composer, and what the experience of music has taught.

New York: Scribner, In our case as modern musicians, however, we have lost these traditions, although musicologists have brought to light a fair number of them.

In consequence, the main source of interpretation is the manuscript itself or the earliest printed editions. It is most often the harmony, which is the best guide to the finer nuances whereas the melodic line is most often indicative on a rather larger scale. Rising dynamically to the peak of an ascending phrase, and falling away from it again as the melody descends, is one of the most natural of musical responses.

This can often happen intuitively, within the yet larger planning best preconcerted of loud and soft passages. In order to arrange a preconcerted performance of the piece, the inherent arch form of the overall architecture should be taken into account see page However, smaller architectural levels are the ones that insure the momentum of the performance and provide evident dynamic flow.

Per example, the statement of the theme can be divided into strong and weak cells in many different levels.

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In the first architectural level, the antecedent is strong and the consequent is weak. Within each sub-phrase, the first seven beats are strong and the rest weak, and so on. Long and short slurs are, however, the most frequently found. In the Chaconne, Bach provides long slurs to underline a given melodic line, thus indicating a specific phrase. On the other hand, short slurs are more related to violin technique as they indicate bowing and grouping of small melodic cells.

Both indicate how the given line has to be articulated and grouped by indicating the accented note. They do not appear in the present transcription in order to avoid confusion. However, the manuscript or the urtext should be studied in order to realize the proper phrasing. By accenting the first note of every group the basic quarter-note pulse can be supported, thus obtaining a parallel effect in the guitar to that of the violin. It indicates a change of affekt since it is a new variation.

The change is signed by the low d in the bass and change of dynamics. It is not always possible to translate literally small slurs written for the violin into the guitar. However, they serve as an important guide for articulation in the guitar. A similar directionality should be attained.

Bach does not indicate slurring in some instances. However, slurs were included in the transcription in order to give rhythmic momentum to certain motivic cells. Tempo Bach does not provide a tempo markings for the Chaconne. Nevertheless, sufficient historical data provides enough information to make decisions regarding tempo. A more proper tempo is one closer to the French sarabande. Proper attention to these considerations will prevent an allegro from being hurried and an adagio from being dragged.

The fastest passages from variations such as 8, 9, 10, and the arpeggio passage from measure 89 set the limits of how fast the Chaconne can be performed. On the other hand, the two main affekts of the piece Part II contrasting Parts I and III determine the average tempo: If too fast, Part II will lack the proper calmness inherent in the music; if too slow, the proportions between phrases and their corresponding diminution can be lost.

New York: Norton, , Some changes to the original music, however, where made according to personal taste, and they do not mean to be definite. The fingerings proposed here are the ones that best fit my own current technique. They are also expected to evolve into more sophisticated fingerings that would help to convey the content in a deeper musical way. There are some features worth mention: Unlike the original autograph, most of the notes within harmonies do not have individual stems. This is due to laying-out reasons, since it would be cumbersome to read.

For a guide to the polyphonic texture and direction of the voices, see the manuscript after this section.

The arpeggio passage in variations 11 to 14 shows only one pattern, similar to the Segovia version. The extension over the dominant of variation 27 features the same technique used by Narciso Yepes as it anticipates the sixteenth-note triplets by four measures see page In this transcription, there are some indications that are not standard in guitar music: IV5 Bar on the fourth fret up to the fifth string.

III0 Hinge-bar on the third fret. Bach autograph of the Chaconne, taken from the manuscript of the works for solo violin. Several features are worth noting: Bach uses a separate stem for each note, rather than writing simultaneous notes on a single stem thus reflecting the polyphonic nature of the music.

His choices of stem directions might be influenced by an overriding extra-musical consideration: the closeness of the staves, which Bach himself ruled with a five-prong pen. In Part II, Bach follows the custom of his day in writing the key signature of D major with two f , one for each location on the staff where the altered note occurs. Other baroque conventions of notation include: connected, rather than separate, ledger lines in series of notes above or below the staff; use of the so-called French violin clef a G clef centered on the bottom line of the staff, instead of the second line for passages lying in the extreme upper register of the instrument; an enforcement of accidentals only for the notes next to which they are written, or for immediate repetitions of such notes, rather than for an entire measure.

Westport, Conn. Andrie, Eugene S. Phrasing in the Solo Violin Works of J. Arnold, Denis. New York: Oxford University Press, Badura-Skoda, Paul. Interpreting Bach at the Keyboard, trans. Alfred Clayton. Oxford: Clarendon Press, Benjamin, Thomas. Counterpoint in the Style of J.

New York: Schirmer Books, c. Bernstein, Martin. An Introduction to Music. New York: Prentice-Hall, Bettmann, Otto. Secaucus, NJ: Carol Pub. Group, Bomar, Mandy. Boyd, Malcolm. London: J. Dent, Boughton, Rutland. New York: Harper and Bros. Bronstein, Raphael. Bukofzer, Manfred F. New York, W. Norton, Butt, John. Cambridge, England: Cambridge University Press, Butt, John, ed. The Cambridge Companion to Bach. Carlevaro, Abel. Guitar Masterclass: Volume IV. Technique Analysis and Interpretation of J.

Bach Chaconne BWV Heidelberg Germany : Chanterelle Verlag, Cogan, Robert and Pozzi Escot. Cooper, Grosvenor W. The Rhythmic Structure of Music. Chicago: University of Chicago Press, Davis, Paul W.

Davison, Archibald T. Bach and Handel, the Consummation of the Baroque in Music.

Cambridge, Mass. Dickinson, Alan Edgar F. The Art of J. Bach, 2nd. London: Hinrichsen Edition, c. Dirst, Matthew. Donington, Robert. The Interpretation of Early Music. New York: Norton, Dreyfus, Laurence. Bach and the Patterns of Invention. Efrati, Richard R. Eiche, John F. Urbana, Ill. Emery, Walter. London: Novello, Forkel, Johann Nikolaus. New York: Johnson Reprint Corp, Bach Studies.

Geck, Martin. Bach - Interpretationen. Reprecht, Germany, Geiringer, Karl. Johann Sebastian Bach: The Culmination of an era. The Lost Portrait of J.

Gerstung, Denman W.

Goldsmith, Kenneth M. Grew, Eva and Grew, Sydney. Harnoncourt, Nikolaus. Portland, Oregon: Amadeus Press, Harris, E. University of Tennessee, Harris, Michael W. Herz, Gerhard. Essays on J. Hindemith, Paul. Johann Sebastian Bach, Heritage and Obligation. Holst, Imogen. New York: Crowell, Johnson, Hansford F.

Kim, Hee-Sung. Leichtentritt, Hugo. Musical Form. Lester, Joel. Little, Meredith and Jenne, Natalie. Dance and the Music of J. Bloomington: Indiana University Press, Lynch, Gregory M. Macomber, Frank S.

PhD diss. Malloch, William. Marshall, Robert Lewis. The Compositional Process of J. New York: Schirmer Books, Melamed, Daniel R. Bach Studies II.

Murray, Robert P. Nelson, Robert U. Berkeley: University of California Press, Neumann, Frederick. Princeton: Princeton University Press, Neumann, Werner. Bach and His World, trans. Stefann de Haan.

New York: Viking Press, Newman, Anthony. New York: Pendragon Press, Stuyvesant, NY: Pedragon Press, c. Pruett, Jeffery M. Riemman, Hugo. Analysis of J. Rink, John. Cambridge England : Cambridge University Press, Robyn, Louise.

Rothschild, Fritz. New York: Oxford University Presss, Rubin, Augusta. Bach: The Modern Composer. Boston, Mass. Russell, Louis Arthur. Philadelphia: T. Presser, Sadie, Stanley, ed. London: MacMillan Publishers Ltd. Scholes, Percy A. Sicca, M. Spitta, Phillip. Tatlow, Ruth. Bach and the Riddle of the Number Alphabet. Cambridge England : Cambridge 63 University Press, Terry, Charles Sanford. Bach: A Biography.

London: Oxford University Press, H. Tetrick, Sidney James. A diss. University of Colorado, Theone, Helga. Towndrow, Sharon L. Tureck, Rosalyn. London: Oxford University Press, Walton, Charles W. Basic Forms in Music. Washington, Peter. London: David Campbell Publishers, Ltd. White, Lyn Daniels. Young, Percy M. Recordings Bream, Julian.

Contact Me

Julian Bream Plays Bach. Gimpel, Bronslav. Liner notes by Albert Mell. Johnson, Lawrence. CRG-RG01, cassette. Liner notes by Carl Miller. Boston Records B, LP. There was a shift in cover art after your first two albums, where you wore a tux, to photos in which you dressed casually.

Do you feel this change in image contributed to a wider audience relating to you at that point? I remember when I was in my 20s, my manager at the time, Sam Niefeld, suggested that since I was playing at many universities across America, I dress more casually; hence the black turtleneck. When Sam retired and Andrew Grossman became my manager, he suggested that since I was then in my 30s, I should dress more like the classical musicians of the day and wear tails for solo and orchestral performances.

However, I always took the advice of the artistic director at EMI for the cover art. Your transcriptions and arrangements and those of several others created a distinctive repertoire that listeners could readily identify as yours. Can you talk about your collaborative work with various arrangers? When I thought a piece would fit the guitar, I would give the music to Jack, and within a day or two, it was finished.

He was friends with Ronald Ravenscroft. I called Rick and he drove up to my house on his motorcycle with the guitar strapped on his back. I also met Jerry Hyman through a friend when I was chairing the guitar department at the University of Southern California. Did your label allow you to direct the musical concepts for each of your recordings? Advertisement In the beginning, they controlled all of the musical concepts of the albums. I presented them with possible repertoire to record, and they came up with the titles, In the Classic Style and In the Spanish Style.

Later on, however, I preferred to choose the repertoire, and they allowed me to. Much of your repertoire remains popular with players of two or more generations. Does it follow that your editions continue to sell? Yes, I have always felt that it is important for classical guitarists to publish arrangements so that the music can continue to be played. I regularly receive emails from guitarists from all over the world who want to learn a particular piece.

The sound of your Ramirez guitars in concert and on record is a very distinctive component of your musical voice. I was fortunate to have had that choice back then.

I would have been open to playing another guitar if I found a better one. Your later albums focused on orchestral music. Like others, I have always felt the responsibility to increase the repertoire for our beautiful instrument. I still remember the day that Patrick Russ told me there was a beautiful suite called the Capriol that he thought would transcribe well for guitar and strings.

We went on to record it, along with three Vivaldi concertos and a solo suite with music by Praetorius for the Parkening Plays Vivaldi, Warlock and Praetorius album. Walton loved the piece so much that he made an orchestral version of it. His widow, Lady Walton, commissioned the meshing of the two versions together, which Patrick Russ did for me.

Many years later I asked him about writing a concerto for guitar, but he said he was just too busy with his film music. Finally, with my persistence, he agreed to it, and I recorded the piece with the London Symphony at Abbey Road Studios with the composer conducting, for the album Parkening, Bernstein, Concerto for Guitar.

Parkening with student Kevin Enstrom Since your retirement from touring three years ago, do you still practice regularly or perform for special events? Over the past few years, I have had some physical issues resulting in several back surgeries. At this point in my life, I would like to focus more on my family and on my commitment to teaching and mentoring guitar students at Pepperdine University, and in master classes, sharing the insights and experiences—musical and personal—with young artists.

I also have speaking engagements and give master classes around the country and still perform for a very few special events. Parkening in a collaboration with guitarist David Brandon How many students do you personally mentor at Pepperdine? I currently have ten students and two wonderful adjunct professors, Anastasios Comanescu and Dr.

Jonathan Roth. In addition to my private lessons, I teach several classes. I also give at least one public master class each semester and I take a few guitarists by audition from outside Pepperdine for those classes.

On occasion, I present lectures around the country, and in conjunction, will give a master class.

Christopher Parkening

What was your motivation in founding of the Parkening International Guitar Competition? The Parkening International Guitar Competition will champion and reward long-standing traditions of musical excellence. On a personal note, I am very grateful to the leadership of Pepperdine University, who value the pursuit of art and the skill and discipline necessary to perfect this art. Every aspect of the guitar competition is a credit to their commitment to excellence.

What are your hopes for the winners of this competition? I hope the competition will help jump-start the careers of some brilliant young guitarists. Do you think the guitar will find new champions with the ability and charisma to fill big concert halls as you four did?

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